


Brother

by GracieAnneJackson



Series: Sister Christian [4]
Category: Supernatural
Genre: Gen, Ghosts, Historical, Historical References, Mississippi, No Smut, Plot, Revenants, Screenplay/Script Format, Tulpa, Vampires, Witchcraft, Witches
Language: English
Status: Completed
Published: 2018-11-10
Updated: 2018-11-10
Packaged: 2019-08-21 09:33:29
Rating: Teen And Up Audiences
Warnings: Graphic Depictions Of Violence
Chapters: 1
Words: 10,058
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/16574063
Author URL: https://archiveofourown.org/users/GracieAnneJackson/pseuds/GracieAnneJackson
Summary: The team must divide and conquer, leaving Sam and Joan to work a case together. Can they smooth over their differences before one of them gets killed? Meanwhile, Jack tries to prove himself by taking on an enemy alone, and Dean gets his head shrunk by the Wayward Sisters.





	Brother

**Author's Note:**

> This is Episode 4 of the Sister Christian story arc. This arc was written between Seasons 13 and 14, and takes place some time in Season 14. Online format makes normal screenplay conventions impossible; forgive mistakes in proper text placement.
> 
> The story was outlined before the Season 14 premier. All similarities to the actual plot of the show are coincidental.

**FADE IN:**

**INT. BUNKER - DAY**

DEAN sits at a library table, drinking coffee and looking at something on a laptop. Various refugees are bustling around the bunker. CHARLIE and BOBBY are standing together in the map table room, talking. They are dressed like they just came back from a hunt, still carrying gear. SAM comes in, reading something on a tablet.

DEAN

What’s up?

SAM

Looking for a case.

DEAN

Same here. Everyone being between cases at the same time makes this place a little... crowded.

SAM takes a seat across from DEAN.

SAM

Yeah. I know what you mean. Hey, here’s something. Newspaper from a small town in Mississippi; apparently one of the old antebellum mansions is haunted.

DEAN

Is that really news? I mean. Probably been haunted for a hundred and fifty years at this point.

SAM

Well, maybe. Apparently the place just got fixed up, there’s some kind of festival and the whole thing’s throwing a wrench in it.

DEAN

Huh. Well, that’s good enough for me.

CHARLIE and BOBBY come up to join them.

DEAN

Welcome back.

BOBBY

Glad to be back.

CHARLIE

What are you guys up to?

DEAN

Just talking about how jealous we are of you two, looking for a sweet case ourselves.

BOBBY

The way I heard it, you had plenty of excitement while we were gone.

SAM

Well. That is accurate. But nothing we can really do on that front right now. Better to get out of the house for a while.

JOAN is revealed within earshot, poring over a stack of books by herself. She has a severe, anxious look and speaks with biting sarcasm.

JOAN

So instead, we’ll ignore the freaking cambion that can zap in and out of our living room at will to go chasing after some small potatoes. At least we’ll feel better.

SAM

Look, if you’ve got some kind of genius mystical know-how to share, by all means- –

JOAN rises, turning a book out to show them.

JOAN

I found a warding sigil that might keep him out. Might be worth a try, (to Sam) unless, of course, you’d prefer to have him over for dinner.

JOAN and SAM stare at each other, simmering. CHARLIE and BOBBY awkwardly shuffle off.

DEAN

I think we all agree that locking Jesse out of the bunker is ideal. Right?

SAM

(Deep breath.) Yes. Yes, of course it is.

DEAN

And I think we can also acknowledge that storming the castle at this point would be pretty dumb.

JOAN

Naturally. But we also -

DEAN

Have a job to do. Sam found a ghost problem down in your neck of the woods, for one.

SAM reacts to that tidbit about JOAN. DEAN sees this.

DEAN

(Matter of factly) She’s from New Orleans.

SAM

(Flatly) How nice.

SAM rises from his chair and JOAN turns away and leaves silently. DEAN’s phone starts ringing.

DEAN

Jody! Yeah, we’re both here. (Darkens) Oh. Dammit. Yeah. No no no, wait for us. I’m coming with back up. I’ll call you when we’re on the road. Bye. (Hangs up)

SAM

What do we got?

DEAN

Vampires. They thought it was a small band, but turns out to be a pretty serious nest.

(Announcing to the bunker) We got a vamp nest! Anyone who’s in, be ready in the garage in 10!

Flurries of activity as interested parties gather themselves.

SAM

I’ll get my gear.

DEAN

Whoa, what about your Dixieland haunting?

SAM

It can wait, it’s Jody.

DEAN

Well, sure, but no need. We got a million people around here, we can split our forces for this one.

SAM

We can’t just send up –

DEAN

I’ll go to Montana with Mom, Charlie, and whoever else wants to come. You and Joan head to Mississippi.

SAM

Seriously?? You saw that just now, you really think –

DEAN

She knows the area. You found the case. Maybe you two could build a bridge.

SAM

Dean.

DEAN

I have every faith in both of you as professionals.

SAM

Look, she doesn’t want to go with me, either.

JOAN again appears behind them suddenly, causing SAM to jump. He is annoyed by her stealth.

JOAN

It’s a mission. “Want to” is kind of beside the point, isn’t it? I’ll be ready in 10. (Exits)

SAM

Joan, Dean doesn’t get to just –

DEAN

(Exiting) Good luck, Sammy, have fun, you’re a great hunter and I believe in you. MOM!!

SAM stands alone in the library.

SAM

(To himself) Dammit.

 

**BUNKER GARAGE - DAY**

MARY, CHARLIE, KETCH and several refugees load a beat up, old, full-size van.

CHARLIE

This is awesome, it’s like the mystery machine!

DEAN stands with his gear on his shoulder, gazing longingly at the Impala. SAM approaches and DEAN holds out the keys.

DEAN

Be gentle.

SAM

I always am.

DEAN claps SAM's shoulder fraternally and turns toward the van. He stops when JOAN emerges from the bunker, dressed for a hunt. SAM gets into the driver’s seat of the Impala.

DEAN is low-key checking JOAN out. As she passes him, he stops her with a gentle shoulder touch. DEAN leans in to say privately:

DEAN

Be nice.

JOAN

I always am.

DEAN suddenly looks worried. JOAN gets into the passenger seat of the Impala and DEAN walks toward the van.

DEAN

(To himself) Oh, boy.

DEAN gets behind the wheel of the van and pulls out of the garage. He sees the Impala follow them out; they go opposite directions at a crossroads.

MARY

Why did you make them go together?

DEAN

Pffft, I didn’t make anybody-

DEAN is silenced by a “don’t bullshit me” look from his mother.

DEAN

It’ll be good. They need to get to know each other, this is going to work itself out. They’ll be friends by the time we see them again.

MARY

You think so, huh.

DEAN

God, I hope so.

 

**THE IMPALA - DAY**

SAM and JOAN sit silently in the car. SAM seems uncomfortable with the silence, but JOAN looks placidly out the window.

SAM

You know, Dean doesn’t give out missions like they’re some kind of assignment, or something.

JOAN

Oh? Who does?

SAM

Well, nobody. The team decides on things together. We work as a family.

JOAN

I’ve noticed that your mother seems to relate to you two more like a sister.

SAM can’t decide whether to be offended.

JOAN

I also noticed that she looks to be more the age of your sister.

SAM

Oh. Well, that’s because she was dead. From the time I was a baby until, well, not that long ago. I guess she didn’t age in the meantime.

JOAN

How did you bring her back?

SAM

Amara did – God’s sister.

JOAN is apparently waiting for more explanation of that.

SAM

Oh. Uh, yeah, apparently he has a sister. They have kind of a yin-yang vibe going on – the Darkness and the Light.

JOAN

You’re trying to tell me you met God, and he explained this to you?

SAM

Yeah.

Beat.

JOAN

You’re not joking.

SAM

Nope.

It is clear that JOAN does not believe this, but she moves on.

JOAN

What about your father? Did he “give out missions like they were assignments, or something?”

SAM

Uh, yeah. Yeah he did. Dad was kind of a my-way-or-the-highway type.

JOAN

So you going to college – that was choosing the highway?

SAM

I guess so.

JOAN

I’m sorry you couldn’t stay.

SAM at first thinks this is sarcasm, but looking at her face, he realizes it was genuine.

SAM

I’m not. It wasn’t Dad’s fault, really. Azazel killed my girlfriend, kind of threw me back in. Which was his plan. It was, God, almost fifteen years ago now. Haven’t thought about her in a while.

So. What about your dad?

JOAN

No idea who he was. Probably either the sort of evil son of a bitch my mother would like, or one of her hapless victims. Either way, probably dead by now.

SAM

Yeah, Dean told me about, uh, Mercedes.

JOAN

I told him he could. It’s not a secret.

SAM

Sure.

Beat.

SAM

What’s your last name?

JOAN

My what?

SAM

Your last name. Like, is it your mom’s?

JOAN

My only name is Joan. Mother Superior named me when I was 13.

SAM

You didn’t have a name before that?

JOAN

Of course I did. Mercedes had to call me something. But it’s not my name anymore.

SAM

You don’t want to even tell me what it is?

JOAN

No. I don’t.

SAM

So, _that_ part’s a secret, huh?

JOAN

(Growing annoyed) Is that a problem, that I might have a few things kept private?

SAM

Well, you seem to know my entire life story.

JOAN

Lots of people know your life story, Sam. There’s a series of books about your life story. Besides, I spent some time in your brother’s head, if you recall.

SAM

Oh, I recall. And you two have certainly been close.

Beat.

JOAN

(Calmly) Are you implying something, Sam?

SAM

Not really. Just an observation. Dean trusts you.

JOAN

Good. I’m glad. Maybe you’ll trust me too, in time.

SAM

And do you trust me?

SAM and JOAN share a hard look. It’s not angry, but it is heavy, with a threatening undertone.

JOAN

In time.

 

**INT. BUNKER - DAY**

CASTIEL paints a sigil on the inside of the front door of the bunker. BOBBY looks on from below, near the map table.

BOBBY

That’s supposed to seal the cambion out, huh?

CASTIEL

It’s supposed to, yes. I suppose we may find out whether it will work or not. It doesn’t seem to affect me.

CASTIEL’s cell phone rings. He pulls it out, frowns, and answers it.

CASTIEL

Jack. Where are you? 

**OUTSIDE THE BUNKER, IN THE PARKING LOT:**

JACK stands near the door, exasperated, holding a gallon of milk.

JACK

I walked to the store a few blocks down. We were out of milk.

CASTIEL

(O.S., over phone) Where are you now?

JACK

About four feet from the front door. And I’m stuck. I can’t get any closer. What happened?

 

**INT. BUNKER:**

CASTIEL

Oh. I, uh, my fault. One second.

CASTIEL paints a line across the sigil to break it.

CASTIEL

Try it now. ...Jack? ...Jack?

CASTIEL looks at his phone. Jack has hung up. The door opens and Jack saunters through. CASTIEL steps aside to allow him to pass, then closes the door. JACK sees the sigil and stops. He closes his eyes and sighs, then turns and climbs down the stairs.

BOBBY

Whelp, that didn’t work.

JACK

Works fine. Keeps all the monsters out.

CASTIEL

That’s not true.

BOBBY

Yeah, I’m still here. Can’t work too good.

BOBBY hopes this will get a smile from JACK, but JACK barely registers the joke. Seeing he gets no reaction, BOBBY looks at CASTIEL as if to say, “Well, I tried,” and saunters off.

**THE KITCHEN:**

JACK enters the kitchen and puts his milk in the refrigerator. He grabs a bottle of water and opens it, guzzling it. He looks at it afterwards, bewildered. We see CASTIEL enter the room behind JACK.

JACK

Everybody went on a hunt?

CASTIEL

Yes. Two different hunts, actually.

JACK

Still staying behind with me?

CASTIEL

(Trying to be nonchalant) This time, I just didn’t want to leave the bunker undefended. Jesse, you know.

JACK

Hence the sigils.

CASTIEL

Yes.

Pause.

JACK

I could hunt, you know.

CASTIEL

Hunt... what?

JACK

Well, the same things as everyone else. Like you said, Sam and Dean don’t have grace. They can hunt.

CASTIEL

Of course. Of course you could. Perhaps next time.

JACK nods and exits, clearly unsatisfied. CASTIEL seems lost. He stands by himself in the kitchen.

CASTIEL

Dammit.

 

**THE IMPALA - EVENING**

SAM and JOAN are in the car. We see some of the beautiful scenery around Natchez, Mississippi. JOAN is on a tablet, reading up about the history of the house.

JOAN

So the house is called Auburn.

SAM

Who’s the owner?

JOAN

The city of Natchez. There’s a bunch of these antebellum houses around, but Auburn is the only one owned by the city.

SAM

That actually might be easier than a private owner. Who used to own it?

JOAN

Eh, attorney general of Mississippi was the first owner. No suicides or murders there I can find. Oh, get this, though, it was designed and built by Levi Weeks in 1812.

SAM

Levi Weeks? The murderer?

JOAN

Alleged murderer. Defendant in the first murder case in the newly formed United States. Acquitted, though. After the trial he came back here, built a mansion, as well as some other stuff.

SAM

So is he haunting the place?

JOAN

Don’t think so. The news article says people have been seeing a woman, dressed 1800s style.

SAM

Seeing her where?

JOAN

All over the house and land. The city has been trying to renovate the house into a museum; some of it seems to be left alone, but other parts have been trashed. Dead animals left everywhere. It got so bad they stopped selling admissions - the site’s been closed down for weeks. I don’t know, this sounds weird.

SAM

It always sounds weird. Wasn’t his _alleged_ victim a woman?

JOAN

His fiancée at the time. He later married here, had some kids.

SAM

Ok, where’s everybody buried?

JOAN

Uh, the murder was in New York, so, probably not her. His wife died after he did, both in Natchez... apparently no one knows exactly where.

SAM

Ugh, they’re buried on the property in an unmarked grave. Or worse, in the basement.

JOAN

What? Why would you say that? That’s ridiculous. They didn’t even live there.

SAM

Twenty bucks.

JOAN

What?

SAM

Twenty bucks says I’m right.

SAM extends his hand for a handshake.

JOAN

Fine.

They shake hands.

 

**AUBURN MANSION – EVENING**

SAM and JOAN pull through the circular driveway in front of the antebellum mansion. It is stately, and undergoing renovation. Scaffolding is visible around the sides of the building.

SAM and JOAN get rock salt shotguns and climb the steps. JOAN knocks on the door. They wait. She knocks again.

After a pause, she nods to SAM, who picks the lock. They walk inside to find ornate, period-accurate furnishings in a beautiful antebellum house. A sign is laid in the foyer labeling which room is which, and several informational brochures are on the front table.

SAM silently indicates that they should split up. JOAN nods. A handheld camera at the top of the stairs watches as SAM takes the room to the right of the door and JOAN the left. The “camera” hides.

JOAN pauses and notices an interpretive plaque about the china collection in the dining room.

SAM turns a corner and jumps in shock to find mannequins in period costume, posing in the sitting room. He calms down and continues. He pulls out an EMF meter, but can find no readings.

JOAN and SAM simultaneously enter the back porch through different doors. JOAN approaches SAM.

JOAN

Nothing on the first floor. Let’s check upstairs.

She begins to turn to go back inside when SAM stops her, pointing to a separate, two-story building behind the house. She turns and they see a faint light is flickering in the upstairs window. The curtains flutter.

 

**AUBURN KITCHEN DEPENDENCY - NIGHT**

They enter the door to find a large fireplace and fake foods strewn about the room as decoration. An interpretive plaque reads “ORIGINAL KITCHEN OUTBUILDING.”

They circle through the small room and find nothing.

SAM

(Whispering) Where are the stairs?

JOAN points to a ladder in the corner, leading through a hole on the ceiling.

JOAN

(Whispering) That’s not a good tactical – Sam, stop! Wait!

SAM is beginning to climb the ladder.

SAM

(Whispering) What?

JOAN

(Whispering) You’ll be a sitting duck, we can’t-

SAM

(Rolling eyes) It’s fine, just wait here.

SAM proceeds up the ladder. JOAN sighs and raises her gun to provide cover as best she can through the awkward trap door. Behind her, we see something silently crawl down from the chimney.

SAM is in an empty, dusty attic space. An old kerosene lamp is burning, and a sleeping bag is on the floor. Someone is staying here, but the space is not dressed as an exhibit like the other rooms.

JOAN

(Whispering) Sam? Sam?

SAM

(Normal speaking volume) It’s fine. Just a squatter’s camp up here. Let’s check upstairs in the main house.

We see JOAN from behind on a handheld camera. She relaxes and lowers the gun.

Facing JOAN, we see a pale woman in a Civil War-era hoop skirt dress standing behind JOAN, who notices nothing.

SAM climbs down from the ceiling. When his face dips below the upstairs floor, he sees the woman behind JOAN, reaching toward her. He raises his rock salt gun and fires.

JOAN recoils with a yell, bringing her arms to her face. The woman reacts in shock at being shot, but does not disappear or fade. She steps back. Blinded, JOAN pulls a knife and swings it behind her, toward the woman. The woman retracts and runs out the door.

SAM runs to the door, raising the gun. The woman has disappeared without a trace. He turns to JOAN, who is trying to regain her vision.

SAM

You okay?

JOAN

You shot me.

SAM

There was a-

JOAN

Asshole.

SAM

It’s just salt! And I had to shoot –

JOAN

Did you hit her?

SAM

What?

JOAN blinks her bleary, red eyes open and looks at SAM sarcastically.

JOAN

It’s a freaking sawed-off shotgun, and you were five feet away. Did. You. Hit. Her?

SAM

Yes. Of course I hit her.

JOAN

And she ran out the damn door?

SAM

Yeah.

JOAN

Well, you know what that means.

JOAN raises her knife to inspect it and we see the blood left on the blade.

SAM and JOAN

(Together) Not a ghost.

 

**MONTANA FOREST – EVENING**

The van carrying the team pulls into a dirt road in the forest and finds a spot to park. DEAN, MARY, CHARLIE, KETCH, and two refugees exit the van.

CHARLIE

(To MARY, out loud) See, what’s interesting to me is, why does he even care if they’re friends?

DEAN

They’re working together. We all live together. Really, for the sake of everyone’s peace...

MARY

Sure, we’re all interested in them being civil. But sending them on a hunt by themselves, and hoping they’ll be friends after...

DEAN

All right. Stop. We are not shrinking my head right now. Where’s Jody?

The women smile. They’re enjoying bothering DEAN with this discussion.

JODY and CLAIRE pull up in a pickup truck. They park next to the van and climb out of the cabin, well armed.

JODY embraces DEAN.

JODY

Thanks for coming.

DEAN

Wouldn’t miss it.

JODY

No Sam?

DEAN

He and Joan have a case in Mississippi.

JODY

Huh. Interesting.

CHARLIE and MARY giggle openly. KETCH rolls his eyes. JODY perceives that she has struck a nerve.

DEAN

(Resigned) Vampires?

CLAIRE

It’s a mile hike. Should be all asleep right now.

KETCH

Shall we?

 

**THE NATCHEZ DEMOCRAT OFFICE – MORNING**

SAM and JOAN, dressed in suits (JOAN is wearing pants, not a skirt,) enter the office and approach the front desk. JOAN’s left eye is still red and irritated.

A RECEPTIONIST – a handsome, kind of flamboyant man - sits at the desk. He looks up as JOAN and SAM approach.

RECEPTIONIST

Morning, what can I do for y’all?

JOAN

(In a Southern accent)

Morning. Could you let Lindsey know her 9-o’clock is here?

RECEPTIONIST

Oh, sure thing, hon. (He rises) Oooh, sweetheart, your eye –

JOAN

Oh. Yeah. I tried to put on mascara in the car. Pot holes, you know?

RECEPTIONIST

Oh, geez. Bless your heart. Lindsey will be right out, y’all.

 

The RECEPTIONIST rises and goes into an adjacent room.

SAM

Where did that come from?

JOAN

(Normal) What?

SAM

The accent.

JOAN

Well. It’s mine. I got it honestly. I just usually choose not to use it.

SAM

Huh.

Beat.

Look, about the incident yesterday –

JOAN

Let’s just move on.

SAM

I wasn’t trying to –

JOAN

You weren’t trying not to. Point is, you shot me to get to the “ghost,” and you didn’t care if you had to go through me to get to her.

SAM

Anyone would have.

JOAN

Dean wouldn’t. And for that matter, you wouldn’t have shot Dean.

SAM looks at her for another moment, then sighs in frustration and looks away.

JOAN

I have full vision back. Don’t worry about it any more.

SAM

Fine.

LINDSEY, a heavyset woman in her late 20s or early 30s, enters holding a notepad and pen. She’s dressed fashionably and has a professional demeanor. She has a Southern accent, but she is clearly educated. She approaches and shakes hands with JOAN, then SAM.

LINDSEY

Hello, y’all. I’m Lindsey Felton. I think we spoke on the phone yesterday.

JOAN

(Southern) Yes, ma’am! Do you have a good place we can talk?

LINDSEY indicates that they should follow her, and she leads them to a conference table in the newsroom.

LINDSEY

So y’all are working on a documentary about Auburn?

SAM

Well, antebellum properties more generally. Auburn has a very interesting history.

LINDSEY lights up; this is a topic of interest for her.

LINDSEY

Oh, I’ll say! Especially here recently.

JOAN

I read the article you wrote this week about this lady people’ve been seeing. How awful that must be for everyone.

LINDSEY

You know, you’d think so. The lady in white is certainly interfering with ticket sales there at Auburn –

SAM

I’m sorry – the – The Lady in White?

LINDSEY

(Shrugs) That’s what I heard people been calling her. I didn’t come up with it.

JOAN

No one’s going to Auburn? During Spring Pilgrimage?

LINDSEY

(Proudly) People have been showing up to town in droves since that article came out. The tourists love a good ghost story.

But the garden club ladies think it would be “in poor taste” to do a ghost tour. Please. She’s not hurt anybody.

JOAN

So, you think it’s true? You think Auburn’s really haunted?

LINDSEY

Oh, sure. Wouldn’t be the only haunting in town. Between all the plantations, the devil’s punchbowl, the Forks, Under the Hill... there’s some seriously creepy history around this town. Honestly, with all the factories around here closing, I don’t know why we don’t capitalize on it. Get the tourists really coming. Go viral!

SAM

But the, uh, garden club ladies aren’t in favor.

LINDSEY

No. They are not. But they’re the ones that have kept this town alive. They organize all the big tourist events, like Spring Pilgrimage. And they are certainly not in favor of anyone writing about such “vulgar” happenings.

SAM

So, if the place is haunted, who do you think the “Lady in White” is?

LINDSEY

Who knows? The place was built by a murderer, you know.

JOAN

Yeah, Levi Weeks, right?

LINDSEY

That’s right. Maybe his victim from New York. (Leans in to whisper) Some say he’s hid some proof of his crimes on the property.

SAM looks triumphantly at JOAN, who rolls her eyes.

LINDSEY

Or maybe it’s his poor wife. Who knows what she had to live with. But no one knows where she’s buried. Him either, for that matter.

JOAN

Hm. I doubt that.

LINDSEY

(Taken aback) What? Why?

JOAN

Well, in your article it said that the Lady in White wore a big hoop skirt.

JOAN points to a Spring Pilgrimage poster on the wall, in which several smiling women are wearing the iconic Civil War –era hoop skirts.

LINDSEY

Right... so?

JOAN

The murder trial was 1800. He died in 1819. His wife died in the 1820s. They didn’t wear those yet.

LINDSEY

Huh. Well, you’re the documentary expert. (Shrugs) I haven’t seen her myself. Who knows what anyone saw or didn’t see. If I’m being honest, though, I hope it all blows over soon. This whole thing has done nothing for my reputation in this town – I’m looking forward to forgetting all about the Lady in White.

 

**EXT. NATCHEZ DEMOCRAT OFFICE – MORNING**

JOAN and SAM exit the office together. SAM pulls the keys from his pocket as they approach the Impala, parked on the street.

SAM

Well, looks like we need to find some graves.

JOAN

Seriously? It bled. It wasn’t a ghost.

SAM

I didn’t think it was. I think it’s a tulpa.

JOAN looks at him incredulously.

SAM

It’s a creature that’s brought into being by the concentrated belief of –

JOAN

I know what it is. Do you really think that this paper  has enough circulation, let alone some kind of a rabid fan-base, to create such a thing?

SAM

Well, what else fits?

JOAN

A human. A teenage girl, dressed up like a ghost to make trouble during Spring Pilgrimage for some stupid, teenager reason. I say we go grab that girl, wipe off her makeup, put the fear of God in her, and send her on her way.

SAM

Who would have something to gain from wrecking Spring Pilgrimage?

JOAN

Who cares?

SAM

It just doesn’t sit right. Well, either way, we’re headed back to the house tonight. In the meantime, I want to hit the library and do some digging.

JOAN

Do as you like. (Beat.) There’s a good brunch place down by the river. Or at least, there was fifteen years ago.

SAM

...Really?

JOAN

What, you don’t eat?

SAM

Sure, I just thought you hated me.

JOAN

I told you, don’t worry about it anymore. I’ve already forgotten about it. Besides, I haven’t been in this town in ages.

SAM

You’ve been here before?

JOAN

Sure. Sixth grade field trip.

They get in the car. SAM is driving.

SAM

Huh. I never went on any field trips. Never was in one school long enough.

JOAN

I was lucky. My aunt paid my tuition at a Catholic school from third grade on. Got me out of the neighborhood.

SAM

Rough part of town?

JOAN

(Chuckling) You could say that.

SAM nods and pulls away from the curb.

 

**THE BUNKER CORRIDOR - MORNING**

Two female refugees stand in the hallway, holding towels. Through a door, we can hear running water and a man singing off-key. MAGGIE, the woman killed and then resurrected by Lucifer last season, beats on the door.

MAGGIE

It’s been 45 minutes, dude! Come on!

LOUISE

The other shower’s still broken, huh?

MAGGIE

I think so. Bobby said he needed a part that-

The door suddenly opens just enough to reveal SHOWER GUY, wrapped waist-down in a towel. He poses lasciviously and grins. We instantly hate him.

SHOWER GUY

You ladies just need to be patient. Unless of course, you’d like to join me?

MAGGIE

Don’t be a creep, dude. We just want to get a shower. Hurry it up.

SHOWER GUY

Come on, we’re in a safe bunker with hot, running water – when in our lives are we going to get another chance at an hour-long shower? It takes two, baby – (to LOUISE) How about you, beautiful?

LOUISE is much more shy, and simply turns to leave. SHOWER GUY goes to follow her.

SHOWER GUY

Hey, hey, where you going?

LOUISE rounds a corner, followed by SHOWER GUY, who is followed by an angry MAGGIE. JACK is standing in the hallway around the corner. SHOWER GUY rams past him, causing JACK to stumble, but JACK recovers and puts himself back in SHOWER GUY’s path.

SHOWER GUY

You’re in my way, squirt.

JACK

We all need to take turns in the shower.

SHOWER GUY

That’s not the half of what I need, kid.

LOUISE shuffles around another corner, glancing back at the scene as she disappears from sight.

SHOWER GUY

Hey, wait up, sweetheart!

JACK

I don’t think Louise is interested. You should let her be.

SHOWER GUY glowers at JACK and straightens up to make clear his size and height advantage over JACK. MAGGIE steps back, expecting a fight.

SHOWER GUY

You should mind your own damn business. You’re not so scary anymore, half-breed.

JACK clenches his fist, but tries to control his anger. SHOWER GUY notices he’s making an impression.

SHOWER GUY

I’ve killed plenty of angels. A half-angel, with no grace? He should stay out of my way.

SHOWER GUY pushes past JACK roughly, and JACK does not pursue him.

SHOWER GUY turns the corner and runs right into CASTIEL, who looks him straight in the eye, unmoving. SHOWER GUY tries to go around him, but CASTIEL reaches out a hand to block his path. SHOWER GUY scoffs and tries to brush past his arm, but finds it to be set like concrete. CASTIEL gently pushes him back, causing SHOWER GUY to stumble backwards as if a great force had thrown him.

LOUISE peers out from behind CASTIEL. JACK and MAGGIE look on – MAGGIE is impressed, but JACK is only embarrassed.

CASTIEL

You’re done in the shower. And you will never speak to her (motioning to LOUISE) again. Clear?

SHOWER GUY recovers, shakes his head, and storms away from CASTIEL, calling back-

SHOWER GUY

Oh, don’t worry, I’m freaking tired of all you people!

SHOWER GUY roughly collides with JACK one more time as he exits.

LOUISE is still clearly upset. She stands with her arms crossed protectively, looking at the floor. MAGGIE comes and puts a hand on her back.

MAGGIE

Hey, that guy’s cancelled, ok?

CASTIEL

If he bothers anyone again, I will deal with him.

LOUISE nods.

LOUISE

Thanks, Cas.

The women exit. CASTIEL approaches JACK, who is avoiding eye contact.

CASTIEL

You’re upset.

JACK

I couldn’t stop him.

CASTIEL

He was much larger than you.

JACK only nods, still looking down. He walks away. CASTIEL is clearly worried.

 

**INT. VAMPIRE NEST IN MONTANA - DAY**

The team moves through the interior of the cave, silently dispatching vampires as they sleep. Eventually, they lose the element of surprise and a fight ensues. DEAN is at one point outnumbered and in a tight spot, but CLAIRE comes to his assistance.

 

**EXT. VAMPIRE NEST IN MONTANA - DAY**

The last few vampires run out of the cave, to be met and beheaded by Ketch and one of the refugees. DEAN emerges from the cave.

DEAN

That’s it. Any of them get away?

KETCH

(Jovially) Of course not. What do you take us for?

CLAIRE emerges first, wiping off her sword. Then MARY, CHARLIE, and JODY emerge from the cave, talking amongst themselves in low voices as they pack their gear up for the hike back to the cars.

JODY

Oh, please. Since when does Dean need Sam’s blessing to go out with a girl?

MARY

To just hook up, of course he doesn’t. But I don’t think Joan’s had a lot of hookups, and honestly, I don’t think she’s the type.

CHARLIE

See, I think he likes her, but is trying to decide whether to really get attached. And he just wants to see what Sam thinks.

MARY

He already knows what Sam thinks. He’s just hoping Sam will change his mind.

JODY

So if he doesn’t, you think Dean will forget about her?

DEAN sees, but does not hear, the private conversation taking place.

DEAN

(To CLAIRE) What’s the powwow about?

CLAIRE

Your girlfriend.

DEAN

I don’t have a – (Loudly, to the others) I don’t have a girlfriend!

CHARLIE

Nobody said you did.

The women all pretend they weren’t talking about anything. DEAN makes annoyed face, then turns to KETCH. KETCH raises his hands as if to say, “don’t ask me,” then turns to walk back through the woods toward the vehicles.

DEAN walks behind KETCH, followed by everyone else. He pulls out his phone and dials SAM.

SAM

(O.S., by phone) Dean, what’s up, man.

DEAN

Hey Sammy. Just cleaned up this nest, wanted to see how your ghost is coming along.

SAM

(O.S) Well, it’s not.

 

**UNDER THE HILL SALOON, NATCHEZ - DAY**

JOAN and SAM sit in what looks like a seedy bar, except that it is daytime and JOAN is happily eating pancakes. SAM has an omelette in front of him. Out the open front door, a steamboat is visible. SAM has his phone raised to his ear.

SAM

Unless ghosts have started bleeding when cut with knives. I think it’s a tulpa.

JOAN visibly rolls her eyes.

DEAN

(O.S.) A tulpa?

We see DEAN again walking through the **FOREST IN MONTANA** :

DEAN

Come on, it’s never a tulpa. It’s like lupus. Besides, it would only bleed if the myth says it would bleed. What kind of knife was it?

SAM

(O.S.) Uh, it was Joan’s knife, I don’t know.

DEAN

Yeah, well, her knives aren’t exactly kitchen standard. I’d go that route. I’m just glad you haven’t shot each other yet.

 

We go back to SAM and JOAN at the table in **THE SALOON** :

SAM has a guilty face and JOAN stifles a smile.

SAM

Uh, yeah. Heh heh. No one dead yet.

DEAN

(O.S.) All right, good deal. I’ll talk to you later, man.

SAM

Later, Dean.

SAM hangs up. JOAN sips from her coffee.

JOAN

He doesn’t think it’s a tulpa.

SAM

Well, he doesn’t think it’s a teenage prankster, either. Hey, what kind of knife was that, anyway?

JOAN

It’s sanctified, like your buck knife, plus some other magic-related stuff. I don’t know how to make them. Kills pretty much anything; demon, angel, gargoyle, witch, vampire, werewolf –

SAM

Werewolf, really? Is it silver?

JOAN

The edge is. Made out of an angel blade. The sword’s the same, just bigger. My staff...well, it’s just a staff.

SAM

Well, that doesn’t eliminate many suspects. No gun?

JOAN

I mean, I’ve trained with them, for sure. I wasn’t issued one. Guess they figured the initiates would get lazy if they could just shoot stuff.

JOAN and SAM fall quiet as a server approaches. She looks very “biker,” and has lots of tattoos.

SERVER

Can I get y’all anything?

JOAN

Separate checks, please.

SAM

No, no, I got it.

SAM raises a card and the server takes it.

SERVER

A gentleman, how sweet. (To JOAN) Nice ink, hon.

JOAN

(Rubbing exposed hands) Oh, thanks. You too.

The server leaves.

JOAN

You didn’t have to do that.

SAM

You can get it next time. I still feel bad about yesterday.

JOAN

I told you –

SAM

I know. But you were right. Dean wouldn’t have. And I ... I’m sorry.

Beat.

JOAN

Thank you for your apology. And for the pancakes. (Beat) Let’s go poke around an antebellum mansion, shall we?

SAM

Sounds good.

They both rise to leave.

 

**THE BUNKER – DAY**

JACK is alone in the library, looking through some old papers. He finds something and rushes off. We see JACK hastily and angrily packing a bag, his face set like stone. He goes to the armory and adds a handgun, an angel blade and some demon bullets to the bag. Then we see him exit the building, looking back on it sadly.

 

**GREYHOUND BUS STOP – DAY**

We see JACK board the bus with his bag. He looks scared, but determined. He sits down on the bus and pulls out his phone. He almost dials CASTIEL, but stops and turns the phone off, putting it in his bag. He leans back in his chair, his eyes closed.

 

**AUBURN MANSION, NATCHEZ - SUNSET**

SAM and JOAN, now dressed for a hunt, arm themselves from the trunk of the Impala, parked outside the house. JOAN has her sword, SAM has an angel blade. They both have handguns. SAM carries a bag. They walk inside the house, which is unlocked.

JOAN

Hello? Anyone here?

They pause for a moment. Silence. JOAN nods to SAM and they enter. They climb the stairs, guns drawn. They clear the second floor, and find nothing. SAM’s EMF meter gives no indications. They descend the stairs.

SAM

Let’s check the outbuildings again-

SAM and JOAN hear a muffled, distant woman’s voice and freeze. JOAN looks at SAM and points in the direction of the sound. He draws a gun and nods. JOAN draws a sword and they proceed together to a door they hadn’t noticed before, under the staircase. JOAN tries the handle- it is unlocked. She opens it slowly to reveal a small, winding staircase heading down to a basement.

JOAN proceeds down the stairs silently. We can hear nothing – it is eerily silent. Just as they reach the bottom of the stairs, SAM’s EMF meter spikes and makes a loud noise, causing JOAN to jump. SAM pulls the meter out in bewilderment, then shuts it off.

SAM

(Whispering) Ghost?

They both seem bewildered. They quickly clear the room – no one is there.

JOAN

Since when do ghosts bleed?

Beat. Then, JOAN and SAM realize simultaneously and groan at their own stupidity.

JOAN and SAM

(Together) Revenant.

JOAN

How? A Revenant? After all this time?

SAM

We’ve seen them before only pop up on certain dates, or on occasions having to do with their lives or deaths. Who knows. Revenants are hard to kill, though. I don’t think burning their remains or an object will do it.

JOAN

I’ve had success before with decapitation, then burying the head separately from the body in silver-lined caskets. But I mean, that’s expensive.

SAM

Once we actually helped a revenant to move on by herself.

JOAN

How?

SAM

Well, she didn’t know she was dead. Must have lost her reaper at some point. When she realized it, she just kind of ... left. 

JOAN

Huh. Well, that’s the first EMF reading we’ve found. Something is down here.

SAM and JOAN search the room. SAM sees a rug with the corner flipped back to reveal a trapdoor. He gets JOAN’s attention, and she comes to follow him through it. They are now in an underground cave. The walls are rough stone. They both produce flashlights.

SAM

We drove through miles of wetlands to get here. How is there a cave under a basement? We should be underwater.

JOAN

This whole town is set on a 100-foot bluff. That’s a lot of the reason it’s still around. Basements alone are really rare in this part of the country, though – this cave was probably discovered before the house was built.

A woman’s voice in the distance causes them both to fall silent. JOAN and SAM crouch and approach the source of the noise. As we get closer, we can hear it is a man and a woman arguing. An old, rotten wooden door is between JOAN and SAM and the voices. They peer through a hole in it to see the pair.

LINDSEY the newspaper reporter and the male receptionist from the office (DANIEL) are arguing in the room. LINDSEY is dressed in a black hoop skirt dress and appears much more sinister than before. The receptionist is dressed in simple, early 19th century clothes. His flamboyant manner is gone. In its place is a refined Southern gentleman.

The room is sparsely decorated, but seems to be a meeting area from long ago. Several tables litter the room; an old bar is in the corner. A huge wooden crate with several padlocks stands in the corner. The white dress we saw worn by the Lady in White is laid over the bar.

LINDSEY

How am I supposed to remember what I wore from one decade to another, Daniel? I’m three hundred years old for God’s sake!

DANIEL

It was careless. Those people weren’t documentarians, Ann. They were hunters. We need to clean all this up and disappear for a while.

LINDSEY

Don’t call me Ann, brother. I haven’t been Ann since-

DANIEL

Sorry, sorry. Lindsey. Old habits. Very old habits. We all have done what we need to do to avoid suspicion. Even Levi.

LINDSEY

I’ve never killed anybody, Daniel. Never. That was Levi, and when –

DANIEL

I know. Good riddance.

LINDSEY

And now, now you say I have to kill – to “clean all this up,” I just –

DANIEL hugs his sister, comforting her.

DANIEL

You’re right. You were never meant for all this. You’ve kept me alive with your powers for all this time. I can take care of this for you. Just as I took care of Levi.

LINDSEY puts her arms around her brother, nodding.

DANIEL

Go ahead and summon her.

LINDSEY walks to the large wooden crate in the corner and grasps one of the padlocks. She begins reciting a spell, and the padlock glows purple.

JOAN gasps in pain and surprise, clutching the area of her chest where her anti-witchcraft tattoo is. She stifles the sound, but it is too late. DANIEL and LINDSEY freeze, staring at the door. JOAN draws a sword and SAM hurriedly pulls out a box from the bag marked “Witch Bullets.”

The door flies open and SAM and JOAN are dragged inside by an invisible force. LINDSEY slams the door shut, then holds JOAN and SAM against a wall.

DANIEL

You hunters really can’t leave well enough alone, can you?

(To LINDSEY) Revenant first, then the hunters.

LINDSEY

Why should I give up the girl? We’ll just kill these two, then we’re back to work! We don’t have to leave.

DANIEL

Aren’t you ready to leave Natchez yet, little sister?

LINDSEY

Three hundred years, Daniel. For three hundred years Natchez has stood on these bluffs, and I have been its lady. Through it all.

DANIEL

And no one even recognizes you. They don’t want you. All our friends are gone. Why not go?

LINDSEY

Where would I go? Why should I go? Because all anybody cares about are the tickets and the tourists? Because these blue-blooded saps just want to parade around, dressed in _my_ things like they’re a _costume_ , making a mockery of my home? When the Yankees came, did we go? No. We rode out in our finery. We asked them to dance. We charmed them all, we saved the town – and my love potions didn’t hurt! The hurricanes, the floods – why does this town still stand? BECAUSE OF ME! I wasn’t some banker, some oil baron’s daughter, some high-born planter’s wife. I married a disgraced Yankee architect. I’ve been hiding all my life – I hid my husband’s crimes when he confessed to me. I hid my powers. I hid in this speakeasy for years, making what fortune I could with my potions, which I had to hide as moonshine! I hid my age. I hid everything I was. And I am done hiding. I AM Natchez. And I am NOT leaving!

DANIEL only nods sedately.

DANIEL

All right, little sister. We’ll kill the hunters. More will come, though – are you prepared for another war?

LINDSEY

Come what may. I’ve seen it all before.

DANIEL turns to JOAN and SAM, holding an elegant silver dagger.

JOAN

You’re Ann Greenleaf. Levi Weeks' wife.

LINDSEY

I haven’t gone by that name since the war began.

JOAN

And you’re a witch.

LINDSEY

Yes. As are you, I can sense – as much as you try to suppress it with your sealing sigil.

LINDSEY comes to JOAN to speak to her closely. She pulls back the collar of JOAN’s shirt to expose the tattoo.

LINDSEY

People like us do an awful lot of hiding. One way or another, you’ll realize – there’s no point. They’ll always hate you, either way.

JOAN swallows and tries to suppress her fear.

SAM

So, you wanted to mess up the festival. Just for spite? Whose revenant did you summon?

LINDSEY

Who else? Pretty little Emma Sands. It was my husband who strangled her with a rope and threw the poor girl down a well.

LINDSEY crosses to the big wooden crate, which is now rattling as its prisoner moves around inside erratically.

LINDSEY

It was the least I could do to give her another chance at life. A new purpose. You know, I have a better idea, brother.

LINDSEY places her hand on the crate’s remaining padlock.

LINDSEY

Let’s let Emma end this little interruption.

LINDSEY rips the padlock off in a puff of purple smoke.

 

**NEEDHAM ASYLUM IN FALL RIVER, MA - SUNSET**

JACK approaches the crumbling asylum, backpack on. He swallows, then climbs the front steps. He sees no one and encounters no resistance. He draws his gun and enters by the front door.

Inside, we see the creepy, but beautiful architecture of Crowley’s old court. JACK stalks the hallways, weapon drawn. He finds the place abandoned. He makes his way through the building, eventually finding himself in Crowley’s throne room.

JESSE is sitting on the steps in front of the throne, reading a book. He is dressed in jeans and a black button-down shirt. He does not look up at JACK, who enters the room, pointing his gun at JESSE.

JESSE

You’re the nephilim that hangs out with the Winchesters, right?

Hearing no response, JESSE finally looks up at JACK, who continues to point the gun. JESSE raises his hands.

JESSE

That’s not going to hurt me, but I kind of like this shirt, so, please, if you wouldn’t mind.

JACK does not lower the gun.

JACK

I have to kill you. You’re evil.

JESSE

Evil? What the heck did I ever do? I mean, sure, I command demons, but I don’t command them to do evil stuff. I’m a cambion. I can’t change that.

JACK

You’re... you’re half demon, right?

JESSE

Yeah. Sure. But to be fair – and no offense, really – you’re half Lucifer himself. You win.

JACK pulls the trigger, causing Jesse to jump and look down at his shirt. The gun does not fire.

JESSE

Uh. Safety.

JACK lowers the gun.

JACK

I’m not like you!

JESSE

Yeah. You’re not much like the Winchesters, either, huh?

JACK

Shut up!

JACK raises the gun again, this time using his other hand to make sure the safety is off. JESSE takes off his button-down to protect it, folds it and lays it to the side. He has a white t-shirt on underneath.

JESSE

Okay, that wasn’t cool, I’m sorry. All I meant was, you’re here for a reason, right?

JACK says nothing, but tears are forming in his eyes.

JESSE

Come on. I’m not your enemy. What did I do to deserve to die, anyway?

JACK

You... you attacked Rowena.

JESSE

Those were demons, and believe me; they’ve been dealt with. Still figuring out the whole “King of Hell” thing, honestly.

JACK

Joan says you’re evil, she can sense it.

JESSE

Do you believe her?

JACK slowly lowers the gun.

JACK

I don’t know.

A pause.

JESSE

Hey. Come on.

JESSE grabs a jacket from the throne and puts his book down. He walks toward the door, motioning for JACK to follow. JACK holsters his weapon and complies.

 

**THE SPEAKEASY UNDER AUBURN - EVENING**

JOAN and SAM are still stuck to the wall, unable to move. LINDSEY swings open the door to the wooden crate to reveal EMMA, the Lady in White. She appears as she did the last time we saw her, except only wearing rags and shivering. A noose is around her head. Her white makeup is smudged to reveal her almost-normal complexion underneath.

LINDSEY raises her palm and produces a small ball of purple smoke.

LINDSEY

Kill the hunters!

EMMA fearfully looks at JOAN and SAM.

EMMA

But I, I –

LINDSEY puts more energy into the binding spell, increasing the size of the purple magic in her hand.

LINDSEY

Do as you are commanded.

EMMA, moving without her own will, reaches to take the knife from DANIEL, who looks at her sadly. When she grabs the knife, it burns her and she drops it.

LINDSEY rolls her eyes and draws a different knife, handing it to EMMA.

LINDSEY

Silver, Daniel, really? 

EMMA hesitatingly takes LINDSEY's knife and approaches JOAN hesitatingly, still trying to resist the effects of the spell.

DANIEL

Lindsey, can’t you see that she’s not meant for this, either?

LINDSEY

I summoned her to my will. She’ll learn.

DANIEL

You’ll corrupt her soul. She was at rest, we never should have-

LINDSEY

Are you serious?

DANIEL shakes his head and grabs the knife from EMMA.

DANIEL

Enough. I’m leaving. You want dirty work done, you’ll have to do it yourself.

DANIEL storms out, leaving LINDSEY shocked and in a huff. LINDSEY grabs the silver knife from the floor. JOAN makes eye contact with EMMA.

JOAN

Emma. I’m so sorry. For everything that’s happened to you. But you can still –

LINDSEY cuts JOAN’s stomach with the knife. JOAN gasps in pain and SAM tries to struggle against the spell.

SAM

Emma, do something! Please!

LINDSEY places her hand on JOAN’s cut and begins to recite a spell, causing JOAN to scream in protest. EMMA slowly removes the noose from her neck and places it around LINDSEY’s. She tightens it so LINDSEY cannot speak.

SAM and JOAN fall to the floor. SAM goes to help JOAN.

JOAN

It’s not bad. Help her! Don’t let her talk, or we’re dead!

EMMA needs no help. She chokes LINDSEY until she goes limp. She releases her and then looks at her hands, realizing what she has done.

EMMA

Is she, is she...?

SAM quickly loads a witch-killing bullet into the handgun and fires it point-blank into the unconscious LINDSEY’s head.

SAM

Now she is.

JOAN stands. She reaches a hand out to Emma comfortingly.

JOAN

I’m so sorry. You weren’t supposed to be dragged back here. Especially not to serve some witch. I think - I think you can go home now. If you are willing.

EMMA looks at SAM and JOAN, tears welling up in her eyes.

EMMA

I... I want to go home.

A light consumes EMMA and she disappears. The door opens and we see DANIEL re-enter the room. He sees his sister on the floor and is grieved. SAM raises his gun again, but DANIEL does not attack. He falls to the ground over his sister, weeping.

DANIEL

Sweet Ann. She’s all I had. Her whole life, I took care of her.

SAM

She wanted to kill us.

DANIEL

Ann died long ago. I was holding on to her, but Lindsey... Lindsey had lost herself. I suppose I’ll grow old now. Die slowly, alone, in a ditch somewhere.

SAM

You could have a life.

DANIEL

No, I couldn’t. I’ve had my life. Far too much of it. I want to die here, with what was left of my sister.

DANIEL turns to SAM with tears in his eyes.

DANIEL

Kill me.

SAM

Look, you’re upset. But you can still –

DANIEL suddenly lunges at SAM, swinging a knife. JOAN intervenes, sweeping the knife aside, then stabbing DANIEL in the gut.

DANIEL drops to his knees and looks up at JOAN.

DANIEL

Thank you.

JOAN does not respond. She decapitates DANIEL. 

 

**INT. DINER IN FALL RIVER, MA - EVENING**

JACK and JESSE sit in a booth at a simple diner. In front of them are the leftovers of their burgers and fries. JACK is smiling.

JESSE

So she says, “yeah, I’m Greek, but I’m not Eurydice!”

JACK is shocked, and reacts as if the joke was dirty, but laughs regardless, looking around to see if anyone else heard. JESSE laughs along at his own joke as well.

A WAITRESS comes by and drops the hand-written check off. JESSE snatches it up and gives JACK a sly look. With a flourish, JESSE produces some cash from thin air, which he lays on the table. JACK is impressed.

JACK

How did you do that?

JESSE

Um, to be honest, I don’t actually know. I mean, since I was like ten, I’ve just been able to... do things. It’s how I’ve been staying solvent my whole life.

JACK

Counterfeiting?

JESSE

Oh, don’t say it that way. What am I going to do, get a job? What’s on my resume, besides King of Hell? I mean, come on. The Winchesters still get by with credit card fraud, right? At least I’m not stealing from anyone.

JACK

No, no, I didn’t mean it that way. You’re right. (Chuckling) I don’t have a job, either. But, I mean, where does that power come from? Is it magic? It’s not like grace, is it?

JESSE

Nah, it’s not really either. It’s more like-

The WAITRESS returns to collect the bill.

JESSE

Keep the change, ma’am.

WAITRESS

Oh, okay, thanks! You boys have a good one.

JESSE

Yeah, you too! (To JACK) It’s more like the demons’ power, I guess. I can do a lot of the same stuff as them – move things, I’m strong, fast, whatever – but also a lot they can’t do. Like, I figured out pretty early on, if I tell them to do something, they have to do it. Even if they don’t want to. Back when Lucifer was alive, I could do a lot more. I could save people who were dying, kill any kind of monster. I could stop entire hurricanes. But now? (Pause.) All the demons have been a bit weaker, too, actually, since Lucifer died. Guess they got used to some of that juice over the past few years. Guess I did, too. It’s weird, not being able to really do the kind of work I used to do. Like, I’m too young to retire, you know?

JACK

How old are you?

JESSE

Twenty. You?

JACK

Uh, actually, I’ll be two next month.

JESSE

(Laughing) Well, yeah, but how old are you really supposed to be? I mean, you’re a grown man.

JACK

Well. Sure, yeah. Of course. I just- I’m not as powerful as I’m used to being, either.

JESSE looks at JACK thoughtfully.

JESSE

You know. There’s this, well. Nevermind.

JACK

What?

JESSE

Forget it. Your family would freak out.

JACK

Tell me what you were going to say, come on.

JESSE

Well, there’s this spell. It’s kind of really hard. It’s what I was going to ask Rowena’s help with. But she won’t call me back, so I really just don’t think I can do it. But it would have helped me, kind of, get back into my normal self. Maybe it could help you, too.

JESSE grabs his jacket, and JACK grabs his bag.

JESSE

But, hey, it’s getting late. Got to get back home.

The pair exits the diner and walks to a secluded area of the parking lot.

JACK

Yeah. It’s a long way back to Kansas.

JESSE

Oh, you don’t have to take the bus. Let me give you a ride.

JACK

Really?

JESSE

Yeah, totally. And just give me a call if you want to hang out again. (Laughing) My schedule’s pretty flexible.

JESSE hands JACK a business card like the one he gave to Rowena before.

JACK

Thanks. I will.

JESSE

Awesome. See you then.

JESSE snaps his fingers and JACK disappears.

 

**INT. THE BUNKER - EVENING**

JACK is shocked to find himself suddenly standing at the top of the stairs near the entrance to the Bunker. He shoulders his backpack, slides the business card into his pocket, and proceeds down the stairs to find his absence was barely noticed.

CASTIEL stands between two groups of refugees, all having a heated discussion in the library. At first, everyone is talking at once, then some voices emerge.

SHOWER GUY

I’m saying, Michael is stuck in this world, somewhere. Ours is safe. It’s time to go back.

MAGGIE

We had a deal. We stay and fight Michael.

LOUISE

Not all of us are fighters. This world, it’s much better than ours. Maybe we should just join it. Make new lives.

Some of the refugees nod their heads.

DEAN, CHARLIE, KETCH, and MARY enter and are surprised to find the ongoing debate.

DEAN

Hey... what’s up, guys?

CASTIEL

Hello, Dean. Some of the refugees from apocalypse world are... discontent.

LOUISE

We’re grateful. We really are. But... some of us are ready to move on with our lives.

DEAN nods, but says nothing.

CHARLIE

We always planned to go back home. But Michael isn’t dead; he’s going to come back.

SHOWER GUY

He’s not going back to our world. He’s not our problem anymore. We’re tired of this place. The deal has changed.

BOBBY

There’s no archangel grace left to open another portal to our world, idjit. We’re stuck here. Get used to it.

SHOWER GUY

Then I’m gone. See ya never.

SHOWER GUY storms off.

LOUISE

Look, he’s a jerk, but I want... I just want things to be normal.

CHARLIE

No one can blame you for that. You have my number.

LOUISE smiles and nods at CHARLIE and BOBBY, then exits.

MAGGIE

I’m not stuck here. I don’t care, we’ll find a way. We’ll kill Michael, then we’re going back home.

CASTIEL

Everyone is welcome to do as they wish. But I don’t know how we will reopen a portal to your world.

JACK enters the room.

JACK

I opened one once. I don’t know how, or how I could do it again. But it is possible, as my powers return, that I could return you home.

MAGGIE

Eventually.

MAGGIE crosses her arms.

MAGGIE

Well, If that’s what we got, that’s what we got.

  

**THE IMPALA – NIGHT**

SAM is driving the impala. JOAN sits next to him in the passenger seat. The radio plays softly. SAM grins and looks at Joan.

SAM

You owe me twenty bucks.

JOAN

I most certainly do not.

SAM

I was doubly right! It was both the wife and the murder victim, and it was definitely under the house.

JOAN

(Laughing) No, no, no, no, no. The bet was that the remains would be buried on the property. We still don’t know where Levi is buried.

SAM

We know where his wife is buried now.

JOAN laughs and opens her mouth in indignation.

SAM

Ann Weeks, and her brother, are now buried under the house. Pay up.

JOAN

No way. Absolutely not.

The pair chuckle for a moment, then fall silent again.

JOAN

We did good, though, man.

SAM

Yeah. We did.

SAM offers a fist bump, which JOAN obliges. Another moment of silence passes. JOAN looks meaningfully at SAM.

JOAN

I have decided to trust you.

SAM can tell this is not said lightly.

SAM

Thank you. I think I’ve done the same.

Beat.

SAM

Will you tell me what name your mom called you?

JOAN

No.

SAM

Ok.

 

**BUNKER GARAGE - MORNING**

All of the refugees, CHARLIE, BOBBY, JACK, CASTIEL, DEAN, and MARY are gathered in the garage. The doors are open. Several refugees, including LOUISE, carry bags. LOUISE hugs CASTIEL and MAGGIE goodbye.

CASTIEL

Keep in touch. The bus stop is nearby.

LOUISE nods, then turns to go. Several others go with her. SHOWER GUY is with them, but walks separately. They walk out the garage door.

Only MAGGIE, CHARLIE, and BOBBY remain of the apocalypse-world group. JACK looks sad. BOBBY affectionately pats JACK on the shoulder.

BOBBY

It’s not your fault, boy. We’ll get home.

JACK nods and forces a smile.

The IMPALA pulls into the garage and parks in its usual spot. DEAN goes to meet SAM and JOAN as they get out of the car.

DEAN

Glad to see she’s in one piece!

DEAN embraces SAM.

SAM

(Quietly, to DEAN only) Joan or the car?

DEAN

(Quietly) Both, I guess.

JOAN walks to their side of the car. They awkwardly greet each other. SAM smiles in amusement at them. They all walk back toward the bunker, where the others are standing.

DEAN

So, what was it?

JOAN

Revenant, summoned by a witch.

DEAN

Oh. Yeah. Bleeding ghost. Duh.

SAM

Yeah, that’s what we said. Oh well.

DEAN

Probably should have just called Bobby, he’d have set you straight. Am I right, Bobby?

BOBBY

(Taken aback) Uh, I mean, I guess?

DEAN suddenly remembers that this is not his Bobby. Grief flashes on his face, but he recovers.

DEAN

Oh, sure, right, I mean. Nevermind.

 

MARY puts an arm around JACK as they walk back inside.

MARY

Are you okay, hon? I haven’t talked to you much lately.

JACK

(Forcing a smile) Yeah. Yeah, I’m okay.

MARY

(Smiling back at him) Okay.

Mary’s smile fades to concern as JACK walks away.

JACK enters his room and shuts the door. He pulls out his phone and the business card. He hesitates, then dials the number.

 

 

FADE OUT: 

THE END

**Author's Note:**

> A huge thank-you to everyone who has read this far through all four episodes. I am now open to concrit / beta readers. I have 10 episodes already plot-outlined, which I hope to get a good chunk of written out before NanoWrimo ends. :) Please reach out if you have some input!


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